Unknotting Bach Goldberg Variations - Var.1

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This series aims to make Bach's Goldberg Variations more comfortable to play on piano. Urtext notation edits and fingering suggestions featured in each video for download in my new edition:
VIDEO:
Bach Goldberg Variations (Complete) in Overhead Keyboard View (v.2)
• Video
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This recording was made on a FEURICH 218 grand piano with harmonic pedal. www.feurich.com
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PIANO LESSON: videos take each variation individually, highlight changes made to the urtext notation and offer fingering suggestions via variation played at a slow tempo.
• Bach Goldberg Variations
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ARIA: (and Aria da Capo) is played from the Ferruccio Busoni edition of the Goldberg Variations available (Free) from IMSLP Public Domain Music Library.
imslp.org/wiki/...
Select "Arrangements and Transcriptions" tab.
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HARMONIC PEDAL:
In this recording I use the harmonic pedal (4th pedal on the Lyra) Our English and French language Harmonic Pedal channels:
/ harmonicpianopedal
/ lapedaleharmonique
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Spoken dialogue in this video in English language text (as requested for online translation)
Here is Variation 1 from the urtext edition with my suggested fingering added.
I've re-grouped the notes in bars 13 and 14 (the section written by hand) to make these bars more comfortable to play -- it also allows the pairs of F# and G in bass clef to be played either legato or staccato, whereas in the urtext these notes can only be played in staccato with the right hand crossing over the left.
You can download this as part a free PDF "Bach Goldberg Variations for Piano" linked in the video info box below.
In the related Aria tutorial I covered in general terms how Bach composed the set of variations on a ground bass line. Let's remind ourselves how Variation 1 fits on top of this ground bass.
(example)
In this video series I attempt to relate the variations one to the other, sequentially.
The initial chosen tempo, dynamics and mood of the opening Aria can effect the tempo, dynamics and mood of follow-on Variation 1, and so on, to the end.
Just how much contrast in tempo, dynamics and touch we wish to make between Variation 1 and the preceding Aria - and that goes for Variation 1 and 2, -- 2 and 3 and so on, is something we can think about when practicing each variation individually. That's to say, While practicing we can (if we wish) consider how we choose to interpret any given variation it relationship to the preceding, following and as part of the variation set as a whole.
With that in mind here's the tail end of the Aria and Variation 1 run together in an overhead keyboard view. You will notice the way I have chosen to change how the notes are divided between the hands in bars 13 and 14.
Here is Variation 1 at a slow tempo for those looking for complete fingering suggestions.

[@janvandijkhuizen5113]

What smart and totally logical and comfortable solution to a tricky technical problem. I wish I had thought of it myself. Thank you!

[@jdbrown371]

If you've played the Partitas and have experience with the WTC preludes and fugues then many (most?) of the Goldberg variations are surprisingly playable. It's worthwhile to play any one of them that look easier that you can play right away. You will surprise yourself how far you can get. There are however exceptions. Some look easy on paper but lead to a traffic jam with the hands bc the Goldberg vars were originally intended for two manuals (like many of Couperin's pieces). Paul Barton's solutions don't always work and sometimes he doesn't divide the hands when it really could help like w/ the start of var 20. Find your own way after playing all the easier variations. Paul Barton does a great service showing his solutions and reminding us that these pieces can be played and enjoyed by amateurs.

[@amateursoundz6262]

The goldberg variations were less difficult than the WTC for me. Although the goldbergs may be more technically difficult, they are musically much less complex, and thus easier to learn and memorize.

[@marklondon2008]

wonderful. you show how inventive Bach is with different voices.

[@carolehague]

Thank you! I played the cello for years and now piano at age 70, this has helped me so much...thank you again!

[@David-jo1er]

This is brilliant! Not being able to read notes - always being able to learn by ear, I've been looking for something like this for variation 1... + the visual cam angle makes it even easier. Now subscribing! Paul, thank you for this video!

[@ViviennesComfort]

Thanks thanks THANKS for playing this as slowly as you did! Your first video had great suggestions for "unknotting" this variation- but this is way better (and so nice to listen to)!!! Thanks for sharing your talent.

[@jamescoll3855]

Paul, thank you for putting this up. I have just started the Goldbergs and I expect it to be a long journey. I was just about to re-write the aria without ornamentation when I remembered your video and, boom, there's a score with ornamentation taken out. Cheers! (Also nice technique!)

[@aizawamegamill]

Thank you for teaching us via your channel. Your fingering suggestions are really helpful. I just completely learned the variation 1 with your noted music sheet. Very helpful and inspiring.

[@ccgilliatt]

This is great thanks. I've learned the aria, now working on this. I use the monkey-see method writing down every note letter (don't read music, never took lesson) so this is perfect if long term project for me.

[@agneteht]

The only thing I miss here is a play through in separate hands at moderate speed. I need to hear each melody separately to help my memorising and I have struggled finding that for complex pieces. It's as if, if you are at the level where you need to hear them separately you aren't allowed to enter the playground :)

[@jamesdong8179]

Thank you a lot for this - I am not a very experienced piano player, and this really helps

[@thijsv6770]

Thanks , the fingering is very helpful in bar 5 & 6, and I'm going to try your suggestion in bars 13 & 14. It sounds good and is doable.

[@guymann9567]

Awesome... Been some time since I played this piece.. I'll be looking at your fingerings when I tackle it again! Thank you!

[@Sam029andCo]

Thank you for all your contribution, its very very helpfull

[@dasteufelhund]

The best analysis.

[@lesterpenalosa8576]

Thank you! This has been very helpful!

[@philemoncicero3406]

you make it look so easy!

[@aether08]

THANK YOU so much for this.

[@ImprovingAbility]

I can't remember more than 3 or maybe 4 notes.. I have no idea how these people do it. Must have superhuman brain.

[@Gatsbi]

Hi link to pdf does not work. Appreciate if you could update

[@alejandrocespedes4923]

Thank you so much

[@MootPoot]

5:58

[@MootPoot]

10:45

[@MootPoot]

9:07

[@purvisvandongen4258]

play at 1.25 speed and voila

[@ESP1138]

I wish I could play this tune. I prayed to Lucifer to give me talent like this in exchange for my soul.

[@fadyfarouk8635]

ESP1138 Bach himself said that talent is not that important, all you have got to do is practice

[@kensukei.4984]

I don't think Variation 1 is that difficult as to require Satan's help o_o

[@fadyfarouk8635]

Kensuke I. Yes he should see variation 26 or 28

[@ESP1138]

In that case thank you for your opinion. I should make an effort to learn it.

[@fadyfarouk8635]

ESP1138 good luck :)